BETHAN LAURA WOOD

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It’s an understatement to say Bethan Laura Wood likes colour. Looking every inch a modern-day Frida Kahlo, the bright young British designer is wowing the global creative scene – and that’s not just down to her eye-popping clothes. Her work, from furniture and glass to ceramics, lighting, textiles and fashion, is bold, vibrant and wonderfully expressive. This week sees Wood curating Broadgate's Makers Mini Market, where East London designers will showcase cross-disciplinary wares. Expect the unexpected...

BY CLAIRE BINGHAM

Tell us about this week's pop-up Makers Mini Market in London.
I was invited to curate the Makers Mini Market and wanted to see how it could be interesting or different from just another type of makers market. I really liked the idea of bringing together a mix of creative people from East London whose work I follow on Instagram and that crosses over different disciplines. 

What can we expect?
There’s dyed marble from Silo Studio, Fashion East newcomer Harry Evans will be showing smaller accessories, and illustrator and sculptor Saelia Aparicio will be showcasing her pickle jars filled with balloons. There are seven designers in total, each with their own shed and creative world. One shed, devoted to workshops and talks, has my pattern all over it and I will be in and around the market.

ABOVE: Bethan Laura Wood in her studio with a bag from the forthcoming 'Toothpaste' collection for luxury Italian accessories brand Valextra. Wood designed witty handles and clasps for the SS18 range
BELOW: Two worlds collide as colourful patterned sheds nestle among the vast corporate structures of Broadgate for Makers Mini Market

ABOVE: Bethan Laura Wood (centre) with her band of East London creatives from Makers Mini Market. From left: Tino Seubert, Beth PostleAttua Aparicio Torinos of Silo Studio, Ryan Coleman Connolly, Kim Thomé, Saelia Aparicio, Harry Evans; Evans invites you in to see his take on menswear and accessories

You've designed for Nilufar Gallery, Bitossi CeramicheKvadrat, Abet Laminati and Hermès, among others. What are you most known for?
My style is very colourful with lots of layers and texture. My work often focuses on materiality and exploring that through design. I also do a lot of locality-based work and make direct references from places when I have the opportunity to travel. For example, I’ve completed a range of designs based on Mexico City: the colours, patterns and architecture there all resonate with me.

Where's next on your travel wish list?
I went to Japan a year ago and absolutely loved it, so I would really love to go back and work with artisans there. I’m also a big lover of kimonos. I would like to spend time seeing how the fabrics are woven and explore how the shapes could be taken in a furniture direction, while honouring their proportions.

BELOW: Wood's spectacular blown glass lights at Peter Pilotto's 'Townhouse Takeover' during September's London Design Festival 2017

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Your floor lamps for Peter Pilotto were a hit at September's London Design Festival and your work appeared in three of our top LDF17 FizzPicks. What was your highlight?
I love the opportunity to collaborate with others on a project like the Peter Pilotto Townhouse Takeover. Much like the Makers Mini Market, I enjoy everyone working together to create something special. 

How does working in fashion and interiors compare?
In the fashion industry, the speed is crazy fast, whereas furniture production has a much longer lead time. For me, I really enjoy the crossover. I’ve just collaborated on a line of handles and clasps for Valextra in Italy, for a limited-edition range of their bags called the 'Toothpaste' collection. It was great to have access to their production and find a way to incorporate my skills too.

ABOVE: Classics with a twist... Milan brand Valextra's 'Toothpaste' collection of iconic 'Iside' (left) and 'Passepartout' (right) handbags updates the original designs' sleek lines with Wood's cartoon-like, graphic handles and clasps. A new 'It' bag duo is born

Left to your own devices, what’s your interior style?
There’s a lot of stuff in my house! It’s not minimal. A lot of my work is inspired by colours, patterns and things that I find at flea markets, so my home is pretty much filled with stuff like that. All of these things go on to inspire a project.

Is there an era or style that you’re drawn to? 
I have a love of 60s Pop furniture and Memphis. I like the joy and excitement in all of their colours. I also live in an amazing Art Deco building in the middle of Hackney. I love it. The signature colour of the architecture is dusky blue with mint-green staircases and pastel-pink doors. I knew it was the place for me.

What qualities do you most like in a room? 
I find lots of objects comforting. A minimal, blank white space may be the dream for some but it is the opposite for me. I love to enter people’s spaces or worlds where there are so many things to look at and explore. I like things busy.

Growing up, what was the dream?
I’ve always been a collector. When I was younger, I wasn’t allowed to paint my walls. I never got my ideas for interior decor past my parents, so I’d change things up with objects instead. 

What part of the design process do you enjoy most?
I love dreaming up concepts and realising the difficult bit of turning ideas and sketches into something amazing. I like model making, so that always makes me happy when I can get off the computer and start building something in 3D. Also, when I go into a workshop and start talking, touching materials, seeing what’s working and what’s not, that's really enjoyable for me.

Who are your design heroes?
My tutors at the RCA, Jurgen Bey (above left) and Martino Gamper (left), have been really influential on my work but there are many, many, many others.

What are you most proud of?
Usually, it’s the last thing I’ve done. I like to keep challenging myself. I have a soft spot for my laminate marquetry. It’s a language and a technique that I love playing with so that’s one of my favourite pieces.

What’s your social media of choice?
I’m aware that I must take part in social media (*sighs*). I’m not really a writer, so I use Instagram the most. It’s fun to see what other people are posting and photographing. 
bethanlaurawood.com  
broadgate.co.uk/makers-mini-market-east-london-where-to-shop
#BroadgateDESIGN

Makers Mini Market, curated by Bethan Laura Wood, runs from 4 to 7 October 2017 at Finsbury Avenue Square, Broadgate, London EC2 (11am–6pm, free admission)

RICHARD WOODS

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Richard Woods is the British artist and designer behind the big, cartoony, painted wood grain furniture for HAY and Established & Sons, and the forest-themed 'Tree Trunk' ceramics at Wrong for Hay. His latest installation, for the current Folkestone Triennial, consists of a series of six mini bungalows dotted around the landscape in unusual locations. Here he talks to DesignFizz about architecture, furniture and his love for wood.

BY CLAIRE BINGHAM

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Growing up, did you always have an affinity for making things?
Fishing was a big thing in my childhood. My dad was always preparing to go fishing and I remember being into making the fishing floats. They were shaped using sandpaper out of balsa wood and then painted on the top with bright colours. The bottoms were always painted with Rustins black satin paint.

What did you study?
I studied sculpture at Winchester School of Art and the Slade School of Fine Art in London. I have always been a ‘maker’ and hands-on. Looking back at what I made as a student, it was always large. It always involved lots of wood and lots of paint, so maybe nothing much has changed since then!

How would you describe your style?
I think my work is always a cartoon. This allows it to sit physically within the real world while appearing to be visually separate from it. The works are sometimes interactive (floors, furniture). Sometimes they are ‘don’t touch!’ (sculptures and paintings). Whether you can pick them up or they are just for looking at, I think they play equally with our notions of taste and class – and hopefully have a sense of humour.

ABOVE: The new 'Wrongwoods' collection for Established & Sons, 2017
BELOW: 'Tree Trunk' vases for Wrong for HAY, 2015

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ABOVE: 'Bench Press' seating for Established & Sons, 2009

What unites your projects?
After studying sculpture at the Slade, I worked as a carpenter and general builder for about seven years. That was during the early 90s and the whole world seemed to be laying laminate flooring (and I seemed to be laying most of it!). My work is a fusion of what I experienced at college and then the work I did to earn money when I left. I would laminate floors during the day and then found myself printing my own versions of wood patterns in the studio at night.

What materials intrigue you?
Wood.

What’s your art/design ethos?
I’m interested in the spaces where art, design and architecture meet. There used to be an unthinking mantra that art and design somehow needed to be separated out. This was enthusiastically adopted by commercial galleries because it’s a handy way of keeping art more expensive. It’s a dogma that’s been harmful to visual arts, so if I have an ethos of any type, it would be to keep these worlds close and not separate them.

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ABOVE: Woods' mini 'Holiday Home' bungalows are dotted around the coastal town of Folkestone for the fourth Folkestone Triennial, a wry comment on second home ownership and the UK's housing crisis

What inspired you to take part in the Folkestone Triennial?
I visited the site and became excited by an idea that I felt would resonate locally and nationally. (Click here to see our post on the Folkestone Triennial).

What do you reckon is the solution to holiday homes and their effect on villages?
Build more wooden houses that are heated with wood-burning stoves.

Any other recent projects?
I am making a new public artwork commissioned by Birmingham's Eastside Projects and Banbury Council. The work involves hundreds of replica houses, copied from a nearby housing estate. Our tiny model houses will be attached to a canopy of trees in a small wood near the estate. The idea was to give the houses the best back gardens that a house could ever possibly have.

ABOVE: New designs created with Sebastian Wrong for Established & Sons' 'Wrongwoods' collection include the vibrant 'Palm Springs' dining table (top), in a sunny five-colour palette inspired by the Californian city, and a low level monochrome/grey sideboard and dining table

What’s next?
We have been working on some new tables with UK designer Sebastian Wrong. Our collaboration, which has been developing for 10 years now, is called ‘Wrongwoods’. Previewed at 2017's recent London Design Festival, they're the first new products we've made with Established & Sons for five years, so it will be really interesting to see what the world makes of them.

What’s currently exciting you in design or style?
dRMM's wooden pier in Hastings is great. It’s a beautiful big open space – good for running around. I love that they’ve managed to avoid all the usual, miserable retail opportunities and it makes you aware of the fantastic expanse of open sea.

Where or how do you find inspiration?
Walking in woods or listening to live music. We live near Epping Forest, so I can get out and hug a tree pretty regularly, and I try to see some live music at least every couple of weeks. It’s one of the luxuries of living in London. Last week we were lucky enough to catch Deerhoof, which was truly inspirational.

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Who are your design heroes?
This week it's artist Franz West and architect Kazumasa Yamashita. I'm also inspired by musicians Jonathan Richman and Richard Dawson.

Where’s on your travel wish list?
Anywhere with a big forest. There's a plan to take my kids over to Scandinavia pretty soon. I think we’ll find some big forests there.

ABOVE: The iconic 'Face House' in Kyoto by Japanese architect Kazumasa Yamashita

What’s your social media of choice?
Instagram. I’m more keen on pictures than words. 
richardwoodsstudio.com

The Folkestone Triennial is on now until 5 November 2017. The new 'Wrongwoods' collection is available to order from selected stores. Visit establishedandsons.com for local stockists

Pictures: Peer Lindgreen, Thierry Bal

LOH LIK PENG

Singaporean hospitality whizz Loh Lik Peng, founder of Unlisted Collection, has masterminded some of the world’s most dynamic boutique hotels, restaurants and bars, collaborating with architects, designers and chefs from Singapore to Shanghai and most recently Sydney.

BY SOPHIE DAVIES

What inspires your love of boutique hotels?
Our properties are usually located only in conservation buildings or buildings with a lot of character, which gives our guests an authentic experience of the city. I like these difficult old buildings. The original Sydney building housing The Old Clare Hotel was built in stages, starting from the early 20th century to the 1930s. It’s very complex and conservation listed, so the regulatory process was tough. I am delighted with the finished result and feel we’ve created something unique. 

ABOVE: Hotelier and restaurateur Loh Lik Peng, founder and director of Unlisted Collection
BELOW: Heritage-modern rooms at The Old Clare Hotel, Sydney, including the Abercrombie Room (with freestanding bath), Clare Room and more contemporary Chippendale Loft. Local architects Tonkin Zulaikha Greer adapted the original buildings

ABOVE: Original period details, from timber panelling to parquetry floors and cornices, feature in The Old Clare Hotel's two Showroom Suites (each with a restored bar as a bedhead) and pendant lamp-sporting C.U.B. Suite, located in the former brewery boardroom

What was your design vision for The Old Clare Hotel?
I liked the idea of working in an old brewery with a strong local heritage. I was really attracted by the raw industrial feel of the building and the locality. My vision was not to over-restore it, but to maintain the grittiness and the industrial, urban feeling of the building while respecting its unusual history. You can still see and feel its original character even as you sleep in the most comfortable of environments. We have cleaned the old lady up nicely but I hope she still retains the atmosphere of her brewery and pub past.

ABOVE: Design details in The Old Clare's 62 rooms include desk lamps made from salvaged car jacks by Margate's The Rag and Bone Man; Reclaimed naval search lights; and custom-designed pendant lights by PSLab, referencing the building's industrial elements and black steel

Which details are you particularly proud of?
I hope people just appreciate the original features of the hotel and some of the interesting heritage rooms. The Old Clare Hotel has these amazing art deco curved windows, original timber panelling and intricate plaster air vents. The structure is all macho bricks, steel, concrete and big timbers and I love that industrial character. We worked with some great collaborators too.

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ABOVE FROM TOP: Automata restaurant offers casual fine dining under chef Clayton Wells, with industrial-chic design by Matt Darwon (aka Matt Machine), including chandeliers upstairs made from aircraft engines; Kensington Street Social eatery, helmed by UK chef Jason Atherton, features rough-luxe interiors by Shanghai's Neri&Hu; Curvy The Clare bar stays true to its pub roots; The Rooftop Pool and Bar offers views of the Brutalist UTS Tower and Jean Nouvel's One Central Park residential skyscrapers, with living green walls by Patrick Blanc

Tell us about the restaurants and bars launched alongside the hotel.
We have two very special restaurantsAutomata and Kensington Street Social – on site, and we also have a Rooftop Pool and Bar and revamped heritage bar The Clare serving some of the best cocktails in Sydney. 

ABOVE: Current show 'Vile Bodies', at Chippendale's mod-Sino White Rabbit Gallery until 5 February 2017, features Zhang Dali's disturbing installation 'Chinese Offspring' (2005) in the atrium; Level 2 displays Su Xinping's outsize image of clasped hands 'Untitled' (2015) and Hou Chun-Ming's vibrant 'Eight Immortals Crossing the Sea' (2008). The birdcage-hung teahouse serves tea and dumplings

What attracted you to the hotel's location in Chippendale, in Sydney's inner-south?
Chippendale is filled with interesting designers and galleries, such as contemporary Chinese art showcase the White Rabbit Gallery, which I find really inspiring. I’m excited by Chippendale’s authentic and local feel. It’s a very low-key neighbourhood that has its own thing going on and its own local scene. I hope our guests just go and explore Kensington Street and the wider area, as they have so much to offer.

ABOVE: Unlisted Collection stays include opulent Town Hall Hotel in Bethnal Green, East London; Quirky Wanderlust Hotel in Little India, Singapore, set in an old school; and The Waterhouse at South Bund in Huangpu, Shanghai, a concrete former 1930s army HQ and warehouse transformed by local architects Neri&Hu with light minimal interiors 

What's your design philosophy?
I’m inspired by authentic locations, places that have a sense of localness, grit and edge. I've sited previous hotels in town halls, old schools and old warehouses – and having one in a former brewery appeals to me very much, especially since the Carlton & United Breweries has such a long association with New South Wales and Sydney. I’m fascinated by unloved heritage buildings in these vibrant local neighbourhoods and I think The Clare/C.U.B. and Chippendale have this character in spades.

ABOVE: Loh Lik Peng's design heroes include Danish architect Finn Juhl, whose 'Pelican' armchairs by Onecollection are available from London Scandinavian interiors store Skandium

Who are your design heroes?
My design heroes include Hans Wegner, Arne Jacobsen and Finn Juhl.

What's currently exciting you in design?
I’m really into small craft producers at the moment. I love handcrafted Japanese ceramics and Korean lacquer. 

ABOVE: Loh Lek Peng's must-sees in Singapore include heritage-modern hybrids the National Gallery Singapore, converted by studioMilou and CPG Consultants; and the National Design Centre by SCDA Architects, shown here illuminated at night

What should design fans see in Singapore?
The old Supreme Court and City Hall buildings have now been turned into the National Gallery Singapore, which showcases great architecture and South-East Asian art. I also love Singapore’s National Design Centre as it always has an interesting programme. Both have brilliant gift shops! 

ABOVE: Post Ranch Inn at Big Sur, California, sports wraparound ocean views

Where's on your travel wish list?
My all-time favourite resort hotel is the Post Ranch Inn in Big Sur, California.

What's your social media of choice?
Facebook for keeping in touch with friends and Instagram because I love visual mediums. For news on our hotels and restaurants, follow Unlisted Collection.
unlistedcollection.com

Photos:
Various; Unlisted Collection (portrait); Aaron Pocock (National Design Centre); White Rabbit Gallery, courtesy of the artists and White Rabbit Collection

MICHAEL ANASTASSIADES

Cypriot-born, London-based designer Michael Anastassiades is known for his pared back aesthetic and sculptural, one-of-a-kind lighting. A former Royal College of Art and Imperial College graduate, his perfectly poised designs use simple geometric shapes that complement both contemporary interiors and elegant homes

BY CLAIRE BINGHAM

How would you describe your work and philosophy?
‘Reduced’ is how I would sum it up. I don’t like to use the word 'minimal' because I feel that is misunderstood in terms of design. What I’m looking for is simplicity. I like to remove excess information from the visual language of the object to distill it to a point where actually, what I decide to give it, is the bare minimum. I believe this is really important in communicating the idea behind an object.

Tell us about your new products for Italian lighting firm Flos. 
The ideas were different for each one. In the case of 'Captain Flint', it was about trying to make a light that works in a doorway. On the one hand, it can be a reading light next to a sofa, but by simply changing the direction you have an uplighter for a more ambient atmosphere, or you can even direct the spot against a wall or specific object. On a practical level, it is a light that works in all sorts of scenarios. The inspiration plays on the idea of balance. The cone balances on its tip, on a stick, which is an extension of the collection of the 'IC' light.

ABOVE: Michael Anastassiades with his 'String Light Cone Head' pendant lights for Flos, inspired by electricity pylon power lines
ABOVE RIGHT AND BELOW: 'Captain Flint' can be rotated through 360 degrees. It comes in two finishes – brushed brass with a white Carrara marble base and anthracite with a black Marquinia marble base

What is your starting point?
In the case of my latest collection for Flos, I addressed the notion of balance. There is a sense of anxiety, almost. How is it possible? How can a cone balance on a stick? The practicalities of a design are subconscious. They are always there and you have to solve them at the end of the day.

What draws you to lighting?
Lighting for me is fascinating because it is special. It is not the same as any other product design. It has to work in two different scenarios: when it is on and when it is off, and this duality is very challenging. When it is off, you view it as an object and the space it occupies but suddenly, when the bulb is switched on, then it exists in an entirely different way. The way it interacts with other objects, in terms of casting shadows changes everything. Of course, light is a very beautiful and very poetic medium and that is what attracted me to it in the first place.

BELOW: Also for Flos, Anastassiades' spherical 'Extra' table lamp plays with balance, and comes in bronze, graphite and silver finishes; The 'Copycat' light is composed of two connecting spheres. The large illuminated globe is contrasted by a smaller one in polished aluminium, electroplated 24 carat gold, black nickel or copper

Which of your lighting designs are your favourites?
I live with very few objects in my home and so the things that I choose are carefully selected. In terms of my own designs, I like living with them but it tends to work on a rotational basis because I don’t have space for all of them. There are different reasons why I like something. Sometimes it is sentimental in the sense that it could be one of my early pieces of work. Sometimes it could be a reminder of an experience that I’ve had.

ABOVE: Another balancing act is pulled off by the 'IC' standard and table lamps in chrome and brushed brass

Beyond lighting, is there any new design territory you would like to tackle?
I am already working on furniture. I have a partnership with US brand Herman Miller that allows me to explore that world, however, lighting is really my passion, my preference. The collaboration with Flos is important. We started in 2011 and the first product launch was in 2013.

Who are your design heroes?
I have many. I wouldn’t say they were heroes. It’s too much load to bear, I think, to be a hero. For me, I like different designers in the same way that I like a lot of artists' work. I am more inspired by art than I am by design.

Photo by HIT1912/iStock / Getty Images

Where’s on your travel wish list?
Unfortunately, I only go to places where work takes me. There is very little time to explore other parts. Cyprus and Greece are special destinations when it comes to choosing places to rest but they don’t excite me like Tokyo, for example, which I find fascinating. I’ve been many times but I always like to go back.

What’s your social media of choice?
I am quite distant from it. I do use Facebook, and Instagram I find interesting, but all these things consume you in a way that I don’t really like. I like to get inspiration from observation instead. They are good tools to keep in touch with people but that is the best use I can think of for them.
michaelanastassiades.com  studiomichaelanastassiades.com

Pictures: Frank Huelsboemer, Giuseppe Brancato, Getty Images

NERI&HU

Founding partners of acclaimed Shanghai architecture and design practice Neri&Hu, husband and wife Lyndon Neri and Rossana Hu are also creative directors of Chinese furniture label Stellar Works and have crafted elegant modern products for a host of top global brands.

BY SOPHIE DAVIES

What’s your design philosophy?
At Neri&Hu we believe in architecture and design as a powerful cultural force. We prefer the subtext over the obvious, and the poetic over the utilitarian. We always start with a concept and research it in depth, looking for traces and signs that inspire us. We are still too young to have a distinct language, so we flow in many directions depending on the specific project, but we always explore layering, transparency, texture, framing and materiality. Questions of culture and aesthetic philosophy concern us deeply and we also want to relate what we do to everyday life.

What do you each bring to the party?
Lyndon is more of a creator and Rossana a critic, which is a good combination.

ABOVE: At The Waterhouse at South Bund, Neri&Hu transformed a Thirties army headquarters in Shanghai into a rough-luxe boutique hotel

How do you balance heritage and modern to create a new Chinese aesthetic?
For us, the redevelopment – or historic renovation – projects are extremely interesting. They allow us to try different ways of interpreting culture and history, something that relates to our identity as individuals and as a collective, and to explore the contrasts between old and new. They’re also a perfect way of preserving memory, as well as creating a sustainable environment to promote healthy reuse, rather than simply demolishing and rebuilding for commercial gain.

Which recent projects are you proud of?
We’ve just designed Kuala Lumpur's Sentul Contemporary Art Museum in Malaysia, which is about monumentality and preserving urban memory, and a creative agency's headquarters for Meiré und Meiré in Cologne, Germany, which merges architectural and institutional identity.

ABOVE: Industrial-chic interiors for Kensington Street Social restaurant at The Old Clare Hotel in Sydney team raw concrete and sleek wood with brass and glass louvres

Tell us about Sydney restaurant Kensington Street Social at The Old Clare Hotel.
We were inspired by Kensington Street Social’s setting within the former Carlton & United Breweries building. We reinterpreted the brewing equipment once used there by inserting two machine-like volumes into the space. The two machine boxes rest atop a continuous concrete landscape defining the footprints of the restaurant’s tapas bar and cocktail bar. The design also takes its cues from the ‘social’ motif of chef Jason Atherton’s restaurants and architecturally treats the interior as an extension of the lively Kensington streetscape, blurring the boundaries between inside and out. 

ABOVE: Neri&Hu's graphic 'Remnant 1' (red) and 'Remnant 2' (blue) rugs for Dutch brand Moooi Carpets reflect Chinese streetscapes; 'A Cabinet of Curiosity' cabinet and 'Utility' sofa for Stellar Works; 'Jie' rugs in celadon and blue for Spain's Nanimarquina, riffing on street tile patterns

What inspires you?
We are inspired by the mundane and the ordinary. The fabric of Shanghai and the everyday activities in and around the city are a huge inspiration. The Western architectural tradition forms the basis of our education, but culturally we are very much Chinese, and that influences our work especially in China. We also like to examine local culture wherever our projects are located.

What’s currently exciting you in design or style?
Paring down to the essence of things – not simply minimalism, but keeping only the necessary while still creating an enriching spatial experience. Also exploring new materials.

ABOVE: 'Ayi' coat rack/umbrella stands for Swedish firm Offecct; the red ash 'Ming' chair for Stellar Works reinterprets trad wooden Chinese seats; Conceived as 'little butlers', 2016's 'Ren' occasional furniture collection for Italy's Poltrona Frau was inspired by the Chinese character 'ren' meaning 'people'; Co-joined 'Together' chairs for Denmark's Fritz Hansen

Who are your design heroes?
There are many contemporary giants whose work we admire. Le Corbusier is still very relevant for studying form and spaces. Carlo Scarpa continues to inspire us with his details and composition, and Adolf Loos with his clarity and rigour. Of the architects practising today, we admire the work of SANAA, Alvaro Siza, David Chipperfield and Peter Zumthor. In terms of mentors, Lyndon's thesis adviser at Harvard Graduate School of Design was Rafael Moneo and he’s definitely played a big part in moulding his take on architecture. Both of us worked at Michael Graves, which taught us a multidisciplinary design approach.

Where’s on your travel wish list? 
Malawi, Istanbul and Prague [Rossana]. Argentina and Berlin [Lyndon].

TOP: A continuous clothes rail runs around flagship fashion store Comme Moi in Shanghai, which also sports cage-like custom-made cabinets; 'Dowry' cabinets and other signature pieces for Stellar Works; 'Jian' hooded sofa for Spain's Gandiablasco against the Pudong skyline
ABOVE: The 'Bai' pendant light family for Spanish brand Parachilna encases a Chinese lantern in a modern glass bulb; A lattice of brass rods creates see-through interiors at skincare brand Sulwhasoo's Seoul store

What’s the Shanghai design scene like?
It is being infiltrated with global energy and design influences on a daily basis, and the absorption rate is extremely high. The problem that comes with this phenomenon is that people are not that critical about what they see and use, so regardless of whether things are good/bad, appropriate/inappropriate, they are all being taken on here.

What’s your social media of choice?
Instagram, I like images over words when expressing myself [Lyndon].
Weibo if at all, but trying to boycott it right now! And Instagram [Rossana].
www.neriandhu.com

Portrait: Andrew Rowat Other images: Poltrona Frau and Sulwhasoo, Pedro Pegenaute; Gandiablasco, Dirk Weiblen

For more on Neri&Hu, see our earlier post on Stellar Works